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While TV shows becoming movies is nothing new, movies becoming TV shows seems to happen less often -- until now apparently. The big to small screen conversion seems to be taking off in 2011, with new shows on the way or in production based on "The Transporter," "The Lincoln Lawyer" and "Anger Management," and yet another big screen outing is getting a small screen take, using material that's something different from your usual network fare.

Meet Jason Keller, the last honest man in Hollywood. The writer recently attended the premiere of "Machine Gun Preacher" and the party hearty Vulture were there in attendance and couldn't help but ask Keller about the still untitled Snow White movie he penned for Relativity. You know, the one that has been competing bitterly with Universal's "Snow White And The Huntsman" over release dates, with Relativity so desperate to come out on top first that Tarsem is already filming for a release date of March 16, 2012. That's right, he's got less than a year to crank this sucker out. And according to Keller, when he was first hired in December last year, Relativity were so hungry to get things rolling that they started getting production departments open before he had even finished the script.

"When I see some black Americans I see the end of the world. Lil Wayne is a sign of the end of the world to me. Blacks here started as slaves, move to independence and success but now you’ve crossed the line. Obama killed rap. You don’t have a cause anymore. African Americans have no fight anymore. In the music videos, all you do is party. Everyone says they’re rich, in the club poppin’ bottles."

Michael Winterbottom's Tess of the D'Urbervilles adaptation, Trishna, has gone to Sundance Selects for North American distribution. They call it his "most beautiful and sensual" film. Starring Freida Pinto and Riz Ahmed, it is a modern take on the classic. Synopsis is below. Winterbottom wrote and directed the film, and previously worked with Sundance Selects on his films The Killer Inside Me and The Trip.

You know, sometimes all it takes for a bunch of old white privileged people to learn how truly magical and delightful life can really be is a trip to a foreign country where those plucky locals may be living in poverty, but gosh darn it, they are just so happy. Isn't that inspiring?

For those unfamiliar with the Formula 1 racing documentary "Senna," the somewhat surprising hit takes a look at the life of Brazilian driver Ayrton Senna, who won three F1 championships before his untimely death at the age of 34. While fans of Formula 1 and cinephiles didn't seem like a natural mix, the doc has received acclaim from many outlets (including us), and become something of an international box-office hit. With the film catching many critics and audiences off guard, it was only a matter of time before those behind the film started earning some clout in the movie business. First up, is writer Manish Pandey, who's being picked by "Coriolanus" producer Julia Taylor-Stanley to write a film based around the Ferrari F1 team.

Madonna’s absurd “W.E.” is the most marvelously wretched film I have seen in quite some time. I wouldn’t go so far as to say it falls into the “so bad it’s good” category. It’s simply fascinating in its terribleness. At first it’s sort of painful, establishing its abysmally ridiculous “Julie and Julia” style narrative and trying to shock a sympathetic reaction to its entirely unlovable characters. Yet as you pay closer attention, the little things become clearer. The rhythm of the film, in every aspect of its style, forms an oddball combination of intentional leitmotif and involuntary obsession. It builds “W.E.” into perhaps the most hilariously dreadful period piece ever filmed.

Starting Monday of next week, the Black Film Center/Archive will honor Hispanic Heritage Month by showcasing the work of Afro-Cuban filmmaker Sara Gomez. She is primarily known for her feature film De Cierta Manera (One Way or Another). The screenings will take place at the Indiana University in Bloomington.